Word: ugo
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...slipping into. Armani, the second of three children of a transport-company manager in Piacenza, 40 miles southeast of Milan, grew up during World War II and remembers waking up screaming from nightmares about air raids. A childhood like that requires a heavy investment in security, which his parents Ugo and Maria did their best to provide...
...Tragedy of a Ridiculous Man opens on Primo (Ugo Tognazzi), a hard-working salt-of-the-earth type who has realized the capitalist dream in the form of his own cheese factory outside Parma in northern Italy. The first hint of conflict s straightforward and understandable enough: Primo's leftist-leaning only child Giovanni (Riki Tognazzi) presents him with a birthday gift of a flare-gun and binoculars, accompanied by a note deriding Primo's latest purchase, a yacht Visibly stung by the rebuke, Primo ascends to his factory's roof to survey his domain. In the distance he sees...
Warm, human Primo provides the one bright spot in this flawed drama Best known to American audiences for his lead role in La Cage Aux Folles unshaven Ugo Tognazzi in baggy corduroys portrays Primo's working class origins as sensual and simple Primo imbodies an earthiness once quieter and more passionate than the mysteria of his aging but staff beautiful wife Barbara (Anoak Ainee...
...shifting sands of time, space and mood. Tragedy of a Ridiculous Man slides in and out of reality, jumps from chamber drama to outsize farce, switches seasons with the speed of a flipped calendar. The plot is simple and scary enough: the son of a Parmesan factory owner (Ugo Tognazzi) agonizes through a search for his son, kidnaped by terrorists of the left. Primo Spaggiari's industry and instinct have made him a millionaire. But as time drags on, and Primo realizes that meeting the ransom demand will mean closing his factory, he begins to believe that everyone around...
...Ennio Morricone's cheerily mellow Muzak score plays as Renato argues with Albin over one of his ("her") musical numbers. Once again, Michel Serrault as Albin, epitomizes all those ancient stereotypes about feminine flightiness and vanity--and once again, he walks the slender line between racy humor and misogyny. Ugo Tognazzi--with the wise restraint he displayed in the first film--underplays Renato, the patient husband who holds on to just a little bit of his machismo. This first scene, while breezy and amusing, lacks energy--a sad omen of feeble scenes to come...